Basically, if the larynx stays down and the vocal cords stay together from the very bottom of the vocal range to the very top everything is fine. This also applies to all vowel and consonant combinations through out any phrase. If at any point the larynx jumps up or down or the tone becomes breathy then there is something wrong with the vocal process.

The larynx is the big bump in the middle of the neck just below the chin. This houses the vocal cords and controls the process of swallowing. When the larynx moves up, the muscles around the cords act as a sphincter and closes so as to prevent swallowing down the windpipe and into the lungs. This is a very important process when you need to swallow, but it is a very poor process when you are trying to sing. If you place your hand on your larynx and yawn, you will find that you can bring your larynx down as well. This is a good way to learn what it feels like to have the larynx stay down. The end goal here is to be able to keep the larynx from moving down as well as up. It should stay completely still as you ascend and descend.

The vocal cords, also known as vocal folds, are a pair of soft tissue cords that are joined at the front of the larynx and extend back. When they close, the back end of the cords come together (adduct), and the flow of air is temporarily stopped. When the pressure of air from the diaphragm overcomes the pressure of the muscles holding the cords together, they are blown apart and sound is made when they close again due to the resonation created. Then once again the air pressure overcomes the muscle pressure and the process begins again. If a singer is singing an A above middle C, this process happens 440 times every second. The pitch A above middle C vibrates 440 times per second. That is very fast and it is somewhat difficult to see this process happen even if you can see down the singer’s throat. Since the invention of the strobescopy it has become easier to view the vocal cord resonation process. If the vocal cords begin to come apart, the tone becomes breathy and the muscles around the outside of the larynx begin to tense. This becomes what is called a constricted phonation and is quite harmful for the voice.

This is a very brief and condensed version of what happens when you sing, there is obviously a lot more going on. But, to give you an idea of what is correct, take these two ideas and while you are singing, monitor them. See if you can keep your larynx still and your cords together. You will probably find that there is a certain area of your voice that is easy for you to accomplish this and certain points of your voice that are more difficult. These harder areas are called bridges, The key to Speech Level Singing is in understanding the bridges and the mix. Bridges in the voice are passage areas from one part of our vocal range to another. In Italian, they're called passagi - or maybe you've heard the term passagio. These passage areas are a result of vocal cord adjustments that must take place in order for us to sing high and low in our range. These vocal cord adjustments produce resonance shifts in our body.

Our first shift in resonance, or our first bridge, is our most crucial, because this is where our outer muscles are most likely to enter the picture. If they do, they tighten around the larynx in an effort to stretch the cords for the desired pitch.

Please make an appointment with Brodie for a more in-depth explanation of Speech Level Singing®. Call Kerry at 435-656-4407

Keep in mind, if you do not see a teacher's name listed on speechlevelsinging.com under the find a teacher link, they are not certified. It is unethical and illegal for any teacher to use the terms Speech Level Singing, Seth Riggs, or SLS that is not certified.

Sadly yes. A bad coach or teacher can lead to you physically harming your vocal cords. The good news is that in many cases the damage can be undone. The other problem is of course simply being taught bad habits that can prevent a singer from maximizing their voice. Many of these teachers have very good intentions. Some however are in it for the wrong reasons and are usually ill educated, misinformed on many levels, and tend to make things up as they go along and try to pass it as technique or wisdom, from their "extensive experience".

The impact between a good voice teacher and a not so good or even bad voice teacher on a student is astronomical. I have seen countless cases of naturally gifted performers who are fortunate enough to go professional end up losing their careers and ultimately their voices completely, due to vocal nodules and the like. All because their teachers did not know how to teach them to sing correctly through the bridges. Students who's only opportunity to get into a certain college or university through their ability to sing and dance can be destroyed because their teacher did not prepare them properly. The most common case is of course the case of the individual who has the potential to not just be a good singer but a great singer but will never find that mentor to take them to the peak of their potential. I have many more examples but I think you get the point.

Finding a teacher that is good for you and can help you achieve your goals as a singer is ultimately the most important decision you can make as a young artist in training.

I have had students as young as 7 and as old as 78. You can never be too old to learn how to sing, no matter what your ability or level is. I would take the oldest living human being into my studio if they had the desire to sing. Regarding children, parents will discuss the matter with me and the student during the first consultation/lesson. It all depends on what is best for the child. Ultimately the child needs to be having fun. As do we all, however, formal training can be difficult and confusing to a child who is not ready for it.

No- I give you the vocal coordination and tools you need, enabling you to sing any style you want. I have students who are primarily interested in musical theatre, some classical / opera, but most importantly this technique applies to my students who are in rock bands and pop music as well as folk music and the list goes on. I am very proud of my diversesely styled students.

Well, it is different for everyone. Let's just say that the best singers in the world always either bring their voice teachers with them on tour or fly them in periodically to prevent them from hurting their voices and to consistently fine tune their voices. All of us tend to need consistent practice, guidance, and nurturing of our voices. Even those who are ranked some of the best in the world. In this way, the voice is maintained and improved very similarly in the way we maintain our physical fitness. If we don't  practice and nurture, we start to detrain or develop bad habits. This counteracts any work we have done to improve ourselves.

Once a week is usually sufficient, however, a student may choose to add additional lessons and/or increase their lesson duration due to upcoming auditions, competitions, or the like.

Each voice student has different needs and such things will be discussed individually on a case by case basis.

I will always accommodate the needs of each individual student to the best of my ability. Simply put however, I find that hour lessons are generally more efficient and productive if time and circumstances permit.